Beethoven regarded Napoleon as the embodiment of the new hopes for the freedom of mankind which had been fostered by the Revolution. That he had also been affected by the martial spirit of the times is revealed in the first and second symphonies. It was the third, however, which was to prove the true monument to republicanism. The story is one of the familiar tales of musical history. Still full of confidence and faith in the Corsican hero, Beethoven composed his great ‘Eroica’ symphony (1804) and inscribed it with the name ‘Buonaparte.’ A fair copy had already been sent to an envoy who should present it to Napoleon, and another finished copy was lying on the composer’s work table when Beethoven’s friend Ries brought the news that Napoleon had assumed the title of emperor. Forthwith the admiration of Beethoven turned to hatred. ‘After all, then,’ he cried, ‘he is nothing but an ordinary mortal! He will trample all the rights of man underfoot, to indulge his ambition, and become a greater tyrant than anyone!’ The title page was seized, torn in half and thrown on the floor; and the symphony was rededicated to the memory of _un grand’ uomo_. It is said that Beethoven was never heard to refer to the matter again until the death of Napoleon in 1821, when he remarked, in allusion to the Funeral March of his second movement, ‘I have already foreseen and provided for that catastrophe.’ Probably nothing, however, beyond the title page was altered. ‘It is still a portrait--and we may believe a favorable portrait--of Napoleon, and should be listened to in that sense. Not as a conqueror--that would not attract Beethoven’s admiration--but for the general grandeur and loftiness of his course and of his public character. How far the portraiture extends, whether to the first movement only or through the entire work, there will probably be always a difference of opinion. The first movement is certain. The March is certain also, as is shown by Beethoven’s own remark--and the writer believes, after the best consideration he can give to the subject, that the other movements are also included in the picture, and that the _poco andante_ at the end represents the apotheosis of the hero.’[55] IV